The plans of the project are signed by Antoni Maria Gallissà because in 1896 Puig i Cadafalch was no longer the municipal architect because of his bad relationship with the Mataró City Council. The house skillfully combines a wide range of ornamental languages, such as sculpture, glass, sgraffitos and ceramics. The stone is not only used to frame the openings, but serves to incorporate the carvings of the sculptor Arnau, who sculpted two relevant figures: the first one is on the tympanum of the door and represents a girl wearing a spindle, a textile emblem that alludes to the owner's industry, while the second figure is at the foot of one of the arches and is the usual Saint George. The rest of the façade is covered with graffiti, and the tribune stands outs, with Nordic reminiscences. The staggered crowning announces the profile of Barcelona’s Amatller House.

Located in an urbanisation in El Maresme, the Ribera houses are made up of two homes intended for two brothers and a home for the watchmen. The buildings have similar characteristics and share a level in order to obtain the best views towards the sea, located at a certain distance. Respectful of the environment, the two houses, facing south and east, are semi-buried on the hillside, without giving up good sunlight. With the same desire for integration, the plastering of the houses and the pavilion is a dark red tone that harmonises with the green of the landscape. One of the houses integrates into its composition a pre-existing water pond, which had been used to irrigate the land. Access by car to the two houses is through the roof, a point close to the garage - in this way it is guaranteed that the visuals from the interior open up to the plan of the plot and towards the distant sea, without visual contact with the cars. The watchmen's house, an independent unit of these, has a characteristic shape in order to integrate into the whole and the landscape, and generates a large open inner courtyard.

A high voltage line forced the definition of a protection zone parallel to one of the streets and displaced the built volume so that from this restriction a generous semi-public space was organised which was treated as a vestibule of the two important vertical accesses to the homes. Its proximity and openness to the street and its visual relationship with a large avenue in front of it gave it greater breadth and a better connection with the city. The project can be seen as an effort to adapt the simple model of the block to a complex plot of a Mediterranean city in which the corners are fundamental. The relationship between the components, the small gestures in the headers and some change in the width of the blocks allowed the construction to help define the surrounding streets, which were not orthogonal to each other. It was a work that continued with the concern for the generous and dignified dimensions of the common accesses, and in which the desire to offer maximum freedom in the use of the homes appeared for the first time, conceived as rectangular spaces in plan, free of any accident structural or facilities and with gaps in the façade that did not predetermine any use and allowed them all.

A layout determines the location of the two schools, and perpendicular to this layout different linear pavilions appear that generate a diversity of outdoor spaces. The conviction that public facilities buildings can and must act as structuring elements of the territory is a basic starting point of this project. The suburban situation of the land and the personal vision of the city lead to propose a building model of an urbanised and colonised estate in the image of the extensive urban territorial settlements of the late 19th century. The option of this type of building in the form of a "tapestry" makes it possible to find a flexible and domestic school building. We say flexible because mesh circulations, due to their neutrality, enable many types of pedagogical operation; and domestic because the dimensions and specific character of the different interior-exterior spaces lead to the individualisation of each one of them. The tapestry building in the form of a comb, with a single floor, adheres and closes towards the external road and opens neatly towards the interior of the plot with small semi-basements. At the end of the building there are the common spaces and perpendicular to these spaces, the janitors' homes and the classroom pavilions are emerging, along with the outdoor spaces: promenades, gardens/classrooms, squares, ponds, gardens, and patios. Both the supporting structure of the ceramic walls and the resulting spaces are the result of a strict reflection on the construction process, as are the materials used and their finishes.

The building, based on a very precise program, finds its place in a degraded and aggressive environment through its shape and its position on the site. It is placed at one end of the plot to be away from a large industrial building and is divided into three pieces perpendicular to a retaining wall that defines the northern limit of the plot. The breakdown of the building into three volumes seeks to provide a strong character to the implementation. The strict type of program of a CAP is distributed in these three bodies with a ground floor and floor, formalised through its roof with a single slope and the façade inclined above the street, united by two lower blocks that contain the services and the stairs. An expansion project is currently being carried out that consists of two new pieces that aim to follow the volume of the current CAP and that will be located next to the others.

Together with the commission to rehabilitate the Nau Gaudí, the Mataró City Council is asking BrulletDeLuna for a proposal to carry out a general arrangement of the surroundings of the Nau. This arrangement includes the design of the façades of the new housing complex that closes the square where the Nau Gaudí is inserted. So, it is about finding a suitable façade to accompany Gaudí's work. The starting point of the project is the search for materials with powerful tectonics capable of coexisting with the presence of the Nau. It opts for a combination of brick and wood construction, embedded in a grid of steel profiles. The resulting texture combines the materiality of the old factories from the beginning of the century, the structural order typical of technical rationality and the domesticity necessary for a residential building. It is also important to propose a deep façade with a gallery-balcony that generates an intermediate space, interesting both from the climatic point of view and for the spatial games it creates.

The commission proposes to think about the construction of new homes, the restoration of Gaudí's chimney, nave and aedicle. The bleaching warehouse, remodeled and restored, will be given new multipurpose uses, which means that the refurbished building must have good performance both from an environmental point of view as well as from a regulatory and equipment one. The proposal is to build a large basement in the first 4 corridors of the nave, where the air conditioning machinery, the new sanitary services, the machinery for the new elevator between the ground floor and the basement, a staircase and a warehouse are located. The arches which are cut off on Cooperativa Street side are redone and therefore the current roadway is invaded to recover the original location of the nave. A wall is built parallel to the street to recover the amputated space of the nave and the small aedicle. Due to the impossibility of recovering the original west façade, the project proposes a new façade that has nothing to do with the previous one. It is a translucent and opal glass façade, with an air chamber and a special treatment that will allow us to increase the natural lighting of the original nave, adapting it to the new uses. The south and east façades are built according to the façades we know of the nave from a photo taken by Joan Bergós (image 16). In order to isolate it acoustically and thermally, without changing its original appearance, it has been decided to fold the roof and the partition of the east façade. A wooden framework is placed on the roof with the flat tile visible below, on top of which a projected insulation with another flat tile on top is placed. The view of the interior and exterior of the roof will be the original but it will be constructively bent. If you calculate the structure of the parabolic arches of the nave, you can see that the arch resists the loads of the ship built in a very precarious way. The solution to the increase in loads will be to reinforce, by means of stainless-steel plates, the connection of the three planks that make up the wooden arch (image 18). So as to not to modify the image of the arch, we have chosen to embed the plates on both sides of the central plank. Glass has been thought of as a distinctive element between the elements of the original nave and the new ones. These contemporary materials (translucent glass and transparent opal) differ from the materials of the late 19th century and at the same time reflect and multiply the parts designed by Gaudí.

Following the existing urban planning, it was a question of building a ground floor and two storey building, on a plot of land very close to the remains of the 16th-century wall of the town of Mataró. The project has been configured based on a response to the complexities of the site characterised by the presence of the wall, a violent topography and the position of the building as a lateral closure of Plaça de Can Xammar. Our volumetric proposal was based on two premises. The first was to make possible the maximum view of the remains of the wall from Plaça de Can Xammar. With this aim, we try not to build the entire surface of the plot on the ground floor, and at the same time we propose two large overhangs - on the sea and mountain side - that facilitate the views over the wall. The second premise was to follow the plot structure of the old town of Mataró by converting the given plot of irregular plan into a rectangular plot. The small size of the plot turned into an isolated piece within the urban structure, the need for the proposed volume to structure Plaça de Can Xammar, the design of a supporting structure capable of withstanding the two large overhangs and the desire for the building to take on an abstract image to separate itself conceptually from the figurative image of the wall, led to the formal and constructive definition of the new building.